body; which the Mohammedans wished to bury, the Hindus to burn.
As they argued together, Kabîr appeared before them, and told
them to lift the shroud and look at that which lay beneath. They
did so, and found in the place of the corpse a heap of flowers;
half of which were buried by the Mohammedans at Maghar, and half
carried by the Hindus to the holy city of Benares to be burned--
fitting conclusion to a life which had made fragrant the most
beautiful doctrines of two great creeds.



II


The poetry of mysticism might be defined on the one hand as a
temperamental reaction to the vision of Reality: on the other, as
a form of prophecy. As it is the special vocation of the
mystical consciousness to mediate between two orders, going out
in loving adoration towards God and coming home to tell the
secrets of Eternity to other men; so the artistic self-expression
of this consciousness has also a double character. It is love-
poetry, but love-poetry which is often written with a missionary
intention.

Kabîr's songs are of this kind: out-births at once of rapture and
of charity. Written in the popular Hindi, not in the literary
tongue, they were deliberately addressed--like the vernacular
poetry of Jacopone da Todì and Richard Rolle--to the people rather
than to the professionally religious class; and all must be struck
by the constant employment in them of imagery drawn from the